Watch Black Dynamite For Free

Highly Overrated But Still Good

Admirable film.

It's a movie as timely as it is provocative and amazingly, for much of its running time, it is weirdly funny.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

I liked this movie more than any other parody film I can think of. As both a tribute to and spoof of the Blaxploitation genre, Black Dynamite is pitch perfect, but also a fun story in its own right. It never repeats a joke; it goes absolutely nuts in all different directions, and they all work. The story follows a Shaft-like character trying to solve his brother's murder, and in doing so, hits on every trope of 70's action movies. It's full of references and tributes, sometimes recreating entire scenes from Blaxploitation classics (such as the pimp council from Willie Dynamite). There were several sequences that I had to watch back over and over for days to absorb all the subtleties, and that is no exaggeration. I would rate this one worth owning, as I continue to watch it back, enjoying the performances and discovering more nuances each time.

'Black Dynamite' is a satire combining elements of martial arts films along with movies featuring a strong black lead character such as 'Shaft.' The story follows Black Dynamite (Michael Jai White) as he searches for the man who murdered his brother, pursues a love interest, and discovers a government plot to bring down the black man. While this is not the first movie of its kind, following 'Undercover Brother' and "I'm Gonna Get You Sucka,' I think it is however superior.This movie, which is crammed with hilarious catch phrases and one liners is also filled with realistic stunt work. Professional writer/actor Michael Jai White just so happens to be proficient in ten different styles of martial arts, so when the director wanted a fight scene to look realistic White had no problem making it happen. White himself puts forth a notable performance combining just the right amount of cheesy lingo and badassery. Prior to this movie he starred in 'Spawn' and a few low budget action films, but I think that 'Black Dynamite' is what ultimately solidified his status as a respected actor/writer even with the movie's lack of financial success.Despite his numerous contributions to the movie, Michael Jai White does not completely steal the show. 'Black Dynamite' is full of well known actors including Tommy Davidson, Aresnio Hall, Nicole Sullavin, and Mykelti Williamson who played Bubba Blue in 'Forest Gump.' The supporting characters, dawning names like Creamed Corn, Chicago Wind, Bullhorn, and Tasty Freeze all have their own personalities and quirks thus adding dimension to this retro movie satire. Although, as I mentioned before, it is not the first film of this genre, but the script and acting make it completely unique. I recommend that you to grab some chicken and waffles, avoid the Anaconda Malt Liquor, and watch this movie. Never fear, it's alright, you won't be disappointed with 'Black Dynamite!'

Black Dynamite The difference between white sticks of dynamite and black sticks of dynamite is that the black ones are longer.But let's leave the racial penis jokes up to this comedy, shall we. When his brother is mysteriously killed, former CIA operative Black Dynamite (Michael Jai White) hits the streets for answers.Eventually, the trail leads to the government, and their plan to add a chemical to a new brand of malt liquor that will shrink the junk of every African-American man. But Black Dynamite and his crew (Tommy Davidson, Phil Morris, Byron Minns) are unprepared for the real perpetrator behind this cultural shriveling - a cross-dressing President Richard Nixon.Outlandish as it is hilarious, this salute to 1970s Kung Fu and blaxploitation movies pays homage to the much-maligned genres while lampooning both to a T.Besides, if US genital size decreases, America will no longer be a threat to China.Green Lightvidiotreviews.blogspot.ca

Black Dynamite is nonsense, but then again of course it's nonsense. Films like Black Dynamite are of those rare breed wherein labelling it anything else OTHER than nonsense is, in a way, derogatory. If the film makers have set out to make a winking, nudging exploitation film chock full of everything inside of Black Dynamite that we get, then it's hardly complimentary to then come away and speak of how much the plot made sense; how much the character stuff was bang-on and how 'non' nonsensical it all was. True, there is the odd misstep in Scott Sanders' on-the-whole-pretty-darned-good self-referential, self-aware-stab at one of those predominantly African American 70's exploitation films; jokes about the sizes of genitalia and some less than pleasant moments involving unnecessarily gory violence dampen the experience, but it's a worthwhile experience all-the-same. It's better than Death Proof, which is what those behind the production will want to hear while it's also better than something like Michel Hazanavicius' quite awful "OSS: Nest of Spies", a French film toying with the espionage genre where these other examples have been more inclined towards horror and grindhouse movements.The film begins with an amusing sequence wherein a well-spoken black individual, who's well out of his depth in being undercover, is caught as not being on the criminally minded level of those in his immediate vicinity. Black and whites are in the process of doing a shady deal involving hard drugs, but brother Jimmy (Vaughn) is found as a fake and mercilessly eradicated. Big mistake, for this man's brother is the titular Black Dynamite, played by Michael Jai White; an ex-CIA veteran of the Vietnam War who's a Hell of a ladies man and will kick down the front doors of most residences if it means garnering access, regardless of threat levels or apparent ease of access. For Black Dynamite, the case of finding out the truth behind the deal and his brother's killers offers the meekest of character arcs in that he always promised their mother he'd keep young Jimmy on the straight and narrow and away from the likes of drugs, et al. Thus, when his corpse turns up with all this drug related content surrounding him, not only is there a lust for payback to be quenched but for a sense of self correction to be attained. Later on, the lead will have to venture to a very Vietnam-like secluded jungle locale where the chief hostilities lie and the confrontation of his wartime demons must be vanquished if he is to succeed.There is no discernible narrative to proceedings, just a series of scenes with their own self-referential guile wherein double takes; poorly implemented stock footage and outtakes which have infiltrated their way into the final cut are the norm. Characters and would-be villains come and go; maybe the film is incomprehensible on purpose, maybe scenes are in the wrong order – perhaps some are even missing but you go along with madness incarnate approach to plot on its energy and often amusing moments. For all the references and general content leaning so heavily toward exploitative African American cinema of yester-decade, it is 1971 British film Get Carter to which it seems to doff its hat most. Like Mike Hodges' sensitive and yet all-at-once explosively brutal crime masterpiece, we observe someone out to avenge the death of their brother before further still unravel a plot to do with tight-lipped higher ups of a dominant hierarchy running a racket for their sordid thirsts and business-like gains: the difference being there's a bit of kung-fu here.I know little of exploitation cinema myself, but I image it was a process of liberation to be able to go to a cinema specialising in stuff that you knew, deep down, you weren't supposed to be watching and/or liking. Whether it was violence; sexual content; bad language or crass gender and racial politics, I suppose there was a sense of the whole exercise being a rising up against the authority embedded in the roots of opting to tune in to one of these films. One's parents, or guardians, would frown upon such things while academics would, I'm sure, almost invariable dismiss said nights out engaging with said pictures as the "lesser" of several cinematic options. Whatever the reality, the film maintains a sense of going up against administrative figures or figures of authority: the people in charge. In Black Dynamite, the enemy for a long while appear to be these suit-clad politicians whose idea to solve problems through words and talk instead of the "old fashioned" way of violence and dishing out a bit of retribution. This rubs the lead the wrong way and I think the film captures that sense of going up against a sort of moral physicality. It doesn't glorify these things, but it does well to, I think, capture the essence of how one might have arrived at watching the film, now, on top of everything that once was. Sanders' film is in the spirit of things, and it does this instead of feeding off petty indulgences alá Death Proof. The film is by no means a masterpiece - it's a bit better than the usual fare of this sort, although does pale in comparison to another one of Tarantino's from this field: From Dusk 'til Dawn. Even so, it's a short, sharp burst of titillation and shenanigans with only a couple of false steps that worked more than it had any right to.